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Huddersfield Jazz Guitar Society
Newsletter No. 32 April 2014
Contents
Page
1. Meeting Summary …………………………………….….. 2
2. Member’s News ……….……….…………………………… 4
3. Swap an Idea …………………………………..……………… 6
4. Membership ………………………………………….…........... 8
5. Gig List ……………………………………………………………… 10
6. Reviews …………………………………………………………… 11
7. Of Interest ………………………………………………………. 12
8. Tuition ……………………………………………………………… 15
9. Sales/Wants/Trades ……………………….…………… 18
10. Charts …………………………………………………….………… 25
Celebrating the art and craft of jazz guitar
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1. Meeting Summary
Hi Jazz Guitar Fans,
For our second meeting at the Rat we arranged the performers against the front wall to facilitate better visibility for all. And, despite some initial issues with the sound quality, this worked out far better.
As usual, the night kicked off with Tom Prior, playing a gypsy style musette: Under Paris Skies. Tom handled the interesting changes from minor to major with great aplomb, capturing a true Parisienne flavour. Tom was then joined by Darren for Cherokee played at an uncharacteristically
moderate pace, Tom taking the head and Darren the accompaniment.
Robin Thomas then took Tom’s place to play Moonglow. Once again Darren played the
accompaniment while Robin took the head and first solo. This was followed by The Nearness of You again with
Robin taking the head and first solo. This settled well after a time with Robin playing very nicely mixing block chords with single-line work.
Next up was Tim on classical guitar to play the Armstrong/Morton
tune, Wild Man Blues.
Colin and Darren followed with Up a Lazy River featuring the vocals of Robin Fowler and solos by Colin and Darren. This was followed by Colin and Darren playing the Charlie Parker blues, Blues for Alice. This, very tricky head, was
admirably played by Colin, who also took the first solo.
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HJGS’ resident, and most experienced,
duo of Dave and Chris then gave a delightful performance of The Shadow of Your Smile, How my Heart Swings and Mean to Me.
After the interval, Adrian and Stephen Frazer started with All Blues and Autumn
Leaves. Both players were battling with
recently acquired guitars, but the sound and groove settles well by the second tune.
Adam was then joined by Darren for a rendition of Satin Doll, followed by a funky version of Watermelon Man.
New member Stephen Frakes was joined by Martin Chung for a rocked-out, loud and totally improvised, funky twelve bar blues.
As usual, representing the more soulful side of things were Jez and Martin, who began their set with God Bless the Child; Jez on the head and first solo which was really in Eric Gale,
Cornell Dupree territory. By contrast Martin’s solo relied much more on string bends. Their second tune Mercy Mercy was more
of an arrangement which was both very effective and extremely well played, if again, heavily dependent on string bends bringing their set closer to rock genres than jazz.
This brought the proceedings nicely to an end and everyone was reminded that the next meeting night would be a Charlie Parker night!
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2. Member’s News
Call for Membership Participation
We have had a few successful, I believe, examinations/investigations of member’s favourite tunes. If you feel you could do a similar job please let me know. Send an email to [email protected] or chat to any of the committee at the next meeting.
Remember the HJGS exists for the benefit(s) of its members, so we need to hear from YOU: good, bad, indifferent, news, views, gossip, ideas, viewpoints, gigs,
sales wants, swaps… etc, etc!
Please keep us informed of any jazz guitar related gigs, events, sales or other item of interest, so that we can pass information on to other members. HJGS needs
to develop its wider network as an important forum for jazz guitar related information and information exchange, so that we may all benefit from the collective wisdom and uncoordinated information that undoubtedly exists amongst fans and connoisseurs.
My Conti Experience By Adam Hinchliffe
While online one day I discovered a jazz guitarist called Robert Conti and was absolutely blown away by his playing. If you haven’t heard him yet I recommend listening to him perform Cherokee or Bluesette on YouTube, which is where I discovered him. I learned that he taught jazz guitar via DVD and not long after became a student of his. The Conti method gets you started very quickly. From the first day, I was playing lines and making music. Robert Conti also has books about how and why his ideas work (the “Source code” books); although for the most part his DVD’s simply show
you how to play the lines. As you are playing them over a specific tune you see what kind of chords the lines work over, though many times knowing the key is enough for these ideas to work. The end verdict of whether or not a line works in a certain situation is simply whether or not, to your eyes, the line works well. His approach is very “lick” based, though jazz players call them lines. I feel this is a great place to start because all the scales in the world could not help me invent my own jazz licks out of nowhere. It was also exactly the same when I started playing Rock and Blues, learning my favourite licks. Another thing I learnt from studying with Conti is a system of major seventh chords that help navigate the neck.
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It is always a blast learning the solos, and then the real work comes when you reapply (and sometimes reinvent) them for a tune you are learning. Every month I begin to feel more comfortable playing jazz on the guitar and I feel that is no small feat, but Robert Conti has made it a lot easier for me. His method seems to split jazz forums down the middle; some of those people say you should never copy another player’s ideas. However, anyone who has ever studied Wes Montgomery’s initial learning process will know this, the bulk of his early learning was a method of simply playing jazz. He copied all the Charlie Christian licks he could. I feel his method is a very effective way to start playing jazz (or any music) is to actually copy an idea note for note, nuance for nuance.
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Howard Alden gig We recently received news from Howard that all of the available gig dates for his next tour of the UK in May are booked. This is, of course, great news for Howard but not so good for us. He is back again in Oct/Nov and he promises to give us plenty of warning so that we can, hopefully, invite him back.
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3. Swap an Idea
This column appears to be popular so we will keep it for the time being. But, and this is an important but we do NEED YOUR CONTRIBUTIONS for this to be successful. Contributions please to [email protected].
This month we have a contribution from Adrian.
The Coltrane Turnaround – a different viewpoint
Rather than think of these changes as a stacked augmented tonic chord and
resulting empiricism, I prefer to visualise this sequence as a 5 I VI II V, which may be drawn upon at any point e.g. II, V, II V I, V I , etc. As a complete I VI II V, it works beautifully, and is much used , as a turnaround. Chord I, being the tonic chord, is the release, providing a stable starting point or
a final resolution, from the tension of the 5 V chord. Consequently, the I chord remains unaltered, although it may be coloured by extensions (6th, 9th, maj 7th etc.). Thus, in the key of C major, the I chord will ALWAYS be a C, usually from the maj7th family, e.g. C, Cmaj7, C6, C6/9, Cmaj9 etc.
The VI, II and the V, however are substituted with their 5s:
VI Ami7 = E7 (5 of VI)
II Dmi7 = A7 (5 of II)
V G7 = D7 (5 of V)
By adding the I, we now have the basis of the Coltrane turnaround: Original Substitute Practise this in every key using a variety of chord shapes. Finally, changing the
5 of II from a dom7 to a maj7 (Amaj7) and lowering the 5th of the 5 of the Vs dom 7th chord (D75), results in a pedal G note, stabilizing the entire progression. This is commonly used. Hear it for example, on the turnarounds of Wes Montgomery’s West Coast Blues.
Cmaj7 A-7 D-7 G7 Cmaj7 Cmaj7
Cmaj7 E7 A7 D7 Cmaj7 Cmaj7
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And, here is a single-line phrase that a lot of players like to use over this turnaround:
Again, move this pattern through the keys!
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4. Membership
Some memberships are now falling due for renewal, remember membership lasts for a full 12 months from the paid up month and the following benefits are only available to current paid up members.
The following deals have been negotiated for members on production of a current membership card: -
Bulldog Pickups (Huddersfield) www.bulldogpickups.com 15% off all pickups and repairs/rewinds.
ElectroMusic (Doncaster) www.electromusic.co.uk
Variable discount depending on the item(s) purchased.
GTR (Huddersfield) www.gtrguitars.co.uk 10% discount on strings and accessories.
The Music Room (Cleckheaton) www.the-music-room.com
Variable discount depending on the item(s) purchased.
Matt Ryan www.guitarrepairer.com 10% off guitar repairs/setups
AmplifierCoversOnline.com www.amplifiercoversonline.com
Customised Equipment Covers On Demand
Frailers www.frailers.com
Variable discount depending on the item(s) purchased.
Foulds Guitars - Derby www.fouldsmusic.co.uk
Variable discount depending on the item(s) purchased. The Amp Shack – Contact Andrew Lazdins Valve/Solid-State amp and Effect pedal repairs. Discount available.
Phone: +44 (0) 7716 460 163
Email: [email protected]
MicroVox www.westf.demon.co.uk
10% discount (see feature later in this newsletter) Phone: +44 (0) 1924 361550
Email: [email protected]
We are actively pursuing other supplier/retailers and will let you know as soon as we confirm them. Remember also that we welcome your suggestions re the future direction of HJGS. Please get in touch.
Committee
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Martin Chung Publicity, joint treasurer, website/facebook and development
Darren Dutson Bromley
Ensembles, education, website/facebook and development
Adrian Ingram Newsletter, education, international liaison and development
Ian Wroe Host, joint treasurer, artiste relations, events and development
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Meetings
The first Tuesday of the month at The Rat & Ratchet, Huddersfield (see
http://www.ossett-brewery.co.uk/Pubs/HuddersfieldDistrict/tabid/1612/Default.aspx)
Remember the society needs YOUR views and input so, if you want to provide
a short introduction/discourse for a tune yourself or make any suggestions for a tune, please speak to a committee member. We have already had some other interesting ideas put forward which we are looking into. YOUR ideas are both vital and welcome. It is YOUR society and the committee is there entirely on YOUR behalf. Please,
please get involved if you can!
2014 meetings
Mar 4th - Players night Apr 1st - Parker night May 6th - Poss Guest or Players night Jun 3rd` - Gershwin night Jul 1st Aug 5th Sep 2nd Oct 7th Nov 4th Dec 2nd - Showcase
Workshop/seminars
Please note that in order to ensure an effective combination of complete
workshop and some time for playing, these sessions will commence at 8:30 on the dot.
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5. Gig List - April Mon 7th Adrian Ingram/Rod Mason with Groove Indigo, Hare & Hounds, Rothwell Fri 11th Adrian Ingram/Darren Dutson Bromley, Strays, Newark; 6:00 – 9:00 Mon 14th Blues Station Adrian Ingram/Terry Kenyon, Head of Steam, Huddersfield Sat 26th Groove Indigo (Adrian Ingram,James Robinson, Ian Rose) Harewood House Pub, Harewood, 3:00pm Sun 30th Swing of Things, The Parish Pump, Huddersfield
New Jazz Gig
The Jazz Dawgs will be hosting a regular monthly gig every 1st Sunday (4:00pm – 7:00pm) at the Grove, Huddersfield.
The Dawgs will feature different guest(s) each month interspersed with the occasional jam session in which anyone can play, (please bear in mind, however, that it is a jam session and not an open mic!).
The Grove is considered by many to be the best pub in the area, it certainly has the greatest variety of real ales! The roster so far is: -
Sun 6th April Anita Lee Sun 4th May Ian & Margaret Benton + Chris Harrison
Live Jazz every Sunday and Tuesday at The Railway 74-76 Wellington Road North, Stockport SK4 1HF
Tel 0161 477 3680
9-11pm – free admission
Dates for April – June 2014 include the following :
April 8th - Paul Hartley Quintet with George Galway (tenor /flute) and Mike Burns (trumpet)
April 22nd – Helena Sommerfield Quartet with Steve Hawkins (guitar)
April 29th - Paul Hartley Quartet with John Hallam (saxes/clarinet)
May 13th - Paul Hartley Quartet with Mike Hall (tenor)
May 27th - Paul Hartley Quartet with Paul Kilvington (piano)
June 24th - Paul Hartley Quartet with Andzrej Baranek (piano)
PS A couple of additional dates that might be of interest :
Paul Hartley / George Galway/ Ken Marley jazz trio appear at the Olive & Vine Restaurant, 846
Wilmslow Road, Didsbury M20 2RN on Sunday 13th April 6-8pm
Paul Hartley Quartet with Andzrej Baranek (piano) appear at Woodhouses Jazz Club, 62 Medlock
Road, Woodhouses M35 9WN on June 23rd – 9-11pm
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6. Reviews
Following on from our review of luthier Daniel Slaman. He has told us that he is
“doing a complete make-over” of his workshop, as a consequence he is holding a sale of guitars. The details can be found at: -
www.newvintageguitars.com/clearance-sale-2014.html
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7. Of Interest
Found anything on the web or heard of something which may interest our members, then
this is the place for it.
Other Jazz Guitar Clubs/Societies
(We are 1 of only 4 jazz guitar societies in England)
Here are a few links: -
http://cheadlejazzguitarclub.wordpress.com/
http://www.southjazzguitar.org
http://www.treforowen.com/index.php?id=38
http://www.meetup.com/LondonJazzGuitarSociety/
http://members.iinet.net.au/~jgswa/index.htm Jazz Guitar Society of Western Australia
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Web Sites
www.mambo-amp.co.uk
www.adrianingram.com
www.jazzdawgs.co.uk
http://jazzguitarscene.wordpress.com/
http://www.joefinn.net/html/jazz_guitar_almanac.html
http://jamieholroydguitar.com
http://www.darrendutsonbromley.com Check out Darren’s pod casts
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Here is a new guitar strap/support we came across at a recent guitar show. It looked very impressive.
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Most jazz guitars have magnetic pickups and jazz guitarists often have
strong views as to which type or make of pickup provides them with their
favoured sound. Many players will take the trouble to fit replacement pickups
in order to find the ideal sound for their taste. There is a wide choice
available. However for the player who requires a true acoustic tone for their
style of playing, ‘Hot Club’ for example, all too often the choice is limited to a
microphone (mic) on a stand or an under saddle transducer. The worst case
scenario is when the guitarist has to ‘borrow’ whatever mic comes with the
house P.A., point it at the instrument and hope for the best! If the player is
lucky, the mic will be one designed for instruments rather than the more
common vocal mic, (an SM58 is great for vocals but its frequency response and
proximity effect which are designed to enhance vocals make it less than ideal
for instruments), and of course the stand mic requires the guitarist to maintain
a constant distance between the instrument and the mic (posture issues).
The under saddle transducer produces a distinctive ‘electro-acoustic’
sound. This is because it ‘feels’ the structural vibrations of the instrument rather than ‘hearing’ the sound
waves transmitted through the air, as our ears do. Extensive eq correction is often required in order to produce
an acceptable sound and even then it is not a true acoustic sound.
Microvox offers a solution to many problems of reproducing a true acoustic sound. The system
consists of a dedicated power supply (NB – it is not a preamp) and a miniature flat response condenser mic.
The mic element is housed in a small black aluminium block and faces down onto the instrument. It attaches to
the instrument by means of a Velcro ™ pad. This method of fixing isolates the mic from unwanted structural
vibration and ensures the mic is a fixed and constant distance from the sound source.
Any pickup device is the first link in the amplification chain. Microvox system mics ensure that this
first crucial link is as faithful to the true sound as possible.
Members of HJGS will receive a 10% discount on all Microvox products from Westfield Music in
Wakefield. Contact details: -
Website www.westf.demon.co.uk
Email [email protected]
Tel. +44 (0) 1924 361550
The recommended Microvox for acoustic guitar is M400 with either PSU.
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8. Tuition
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Also from Jamie Holroyd: -
Registry of Guitar Tutors (RGT) Jazz Guitar Diplomas
I'd also like to mention the new RGT Jazz Guitar Performance Diplomas that I have been helping
private students prepare for.
These are ideal for those looking for certification in jazz guitar performance, but don’t want to go the
traditional University route.
I have had a great experience with them so far with my students, and they are accredited by the
London College of Music a cost only a small fraction of what a traditional university course does.
From the RGT website
The Diplomas focus on developing the technical skills and theory needed by guitarists playing a broad
range of jazz styles. The exam content includes improvisation and rhythm playing, as well as a
performance element that enables the guitarist to demonstrate their preferred style of jazz playing -
whether that be classic jazz tunes such as those of Django Reinhardt and Wes Montgomery or tracks
by more contemporary players such as Pat Metheny and John Scofield.
There are four levels of Jazz Guitar Performance Diploma available:
Diploma Of The London College Of Music - DipLCM
Associate Of The London College Of Music - ALCM
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Licentiate Of The London College Of Music - LLCM
Fellowship Of The London College Of Music - FLCM
Each diploma provides guitarists with the opportunity to gain an internationally recognised
professional qualification and to develop their jazz playing skills to an advanced level. The Diplomas
are awarded by London College of Music Exams and are accredited by the University of West
London. To view more information please go to: -
http://www.rgt.org/exams/jazz-guitar-performance-diploma.php
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Here’s a message from a friend of ours Mike Gellar: -
Hi Adrian and Ian,
Just read the article about HJGS. Good to read about you two!
Members of the HJGS might be interested in my Mike's Master Classes site -
http://www.facebook.com/l/oAQEEZSvnAQEDO9yz8ulke0KlHpG_MbjrMPH2gGIY
NfqJpw/www.mikesmasterclasses.com - also on FB and I have a Youtube channel
"mgellar" that has clips from all of the classes on there that are available for download.
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21st NORTH WALES INTERNATIONAL JAZZ GUITAR WEEKEND
May 9th - 11th 2014
GLYNDWR UNIVERSITY Mold Road, Wrexham, Wales, LL11 2AW
North Wales Jazz: Now celebrating fifteen years of international jazz guitar events in Wrexham.
IMPROVE YOUR JAZZ GUITAR SKILLS AT THIS GREAT VALUE WEEKEND!
Only £99! (£90 Concession)
Call +44 (0)1745 812260 to enrol and for further info or see www.northwalesjazz.org.uk and download the enrolment form.
Five 2 hour workshops with internationally renowned tutors.
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GUEST TUTOR HOWARD ALDEN RESIDENT TUTOR TREFOR OWEN
www.howardalden.com www.treforowen.com
Group A: Hands-on tuition sessions, i.e. for students who wish to learn in a playing situation.
Group B: Tuition sessions for students who need help in basic skills.
Saturday evening concert (May10th - 8.30pm) featuring the course tutors plus guests.
Wide choice of reasonably priced accommodation available in Wrexham and the surrounding area.
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9. Sales
Please let me know as soon as items are sold to remove them from the list.
An important message to all contributors to the sales column.
Modern digital cameras take highly detailed pictures. This detail comes at a cost, namely huge file size. If this newsletter becomes too big (approximately 6-7 Mb), some email services, particularly academic institutions and businesses, will not deliver it.
If you want to include a picture of the sale item, or indeed item in our swap a lick column, then the pictures need to be reduced in file size, preferably no more than 100KB per picture.
Hints. Try searching for ‘optimising images for the web’ for help on this.
Crop the image view to show just the item.
I, unfortunately, don’t have the time to spend optimising images for the newsletter. If they are too big they risk getting left out.
Ian
As you will see, five guitars were sold from last month’s sales listings. If an item is sold, as a direct consequence of an ad being seen in the newsletter, we, the committee, would be pleased to receive a small contribution to HJGS funds.
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Set Bulldog Stratocaster Pickups, Haydens finest, lovely sound…….….£120
Pair Gibson P100 Pickups (From ES-135)……………….………………………..£80
All prices are negotiable and interesting trades are welcome
Contact: Ian Wroe – [email protected]
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1980s Heritage Golden Eagle, near mint. Blonde, with jaw droppingly spectacular woods. Made at the original Gibson by ex-Gibson employees, who knew how to make archtops.
Big reduction in price, bargain at £2,000 for quick sale no offers. Includes case and
upgraded electrics.
SOLD
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Benedetto “Benny” small-bodied jazz guitar with “AAA” carved spruce top and chambered mahogany body. This high-end jazz guitar was designed by Bob as a pro’s instrument,
lightweight, easy to play and with the sound of a full-bodied archtop in a smaller package. He got it right, which is why Howard Alden, Jimmy Bruno and Frank Vignola all play them, I used this model for all three of my Stephan Grossman teaching vids, the Mel Bay DVD and CD with John Pisano, The dvd session in NY with Howard, Jack, Jimmy and Frank and several of my cd recordings and tuition cds. You don’t see these delightful little jazz guitars for sale very often……………………………………………………….£2,000 or poss swap/px CONTACT Adrian Ingram: Tel 01484 314529; Email [email protected] ---------------------------------------------------------------------------------------------------------------------------
CSL Benson. As far as we can tell a prototype made for CSL (Former Ibanez Distributors) and was
built in the same factory to the same quality as the early Ibanez George Benson. Only difference is
here are two full size humbuckers making the guitar less susceptible to feedback and giving more
options in terms of swapping pickups. OHSC and fitted with Bulldog Cool PAFS. £750
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Yamaha SA2000 circa 1980. Very high quality 335 Killer. Just been refretted by Stuart Palmer.
Original case, including instruction book and tool kit. It has been played but it has been loved, no
chips, some light scratches and the usual tarnishing to gold hardware, remarkable condition for a 30+
year old guitar. £1150
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Gibson Les Paul R8 1958 historic reissue from 2003. Includes case and certificate. 9lb 4oz in weight.
£2000
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SOLD
SOLD
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Simon and Patrick SP6 solid spruce
top electro acoustic. Signs of use.
Nice tone. £195
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Roland GR33 guitar synth + pickup : £150 ono
Session Rockette 30 fantastic little jazz amp : £90 ono
JMP 50 1980 Marshall head : £600
Eventide Time-Factor delay/sampler/loop pedal : £220
Tone Pros locking nickel stoptail (335/ Les Paul etc) : £20
Boss digital dimension (1980s) pedal as new (Mike Stern/Sco/Metheny etc) : £80
Fender 57 USA reissue Strat. Mint with upgraded pickups………………...£950
Contact Hayden Minett on 07967 831193 or [email protected] ---------------------------------------------------------------------------------------------------------------------------
65/66 ES-335 I've hung it up on ebay for £5.5k which is very close to
what I paid a few years back. I live in Mirfield approx 15
mins from Huddersfield if you or anyone else wants to
come try it out.
It’s a 65/66 ES 355 and is in great shape.
Hofner HCT J17 As New As new with very heavily padded gigbag. Just £350.
Many thanks
Gary Webb [email protected]
SOLD SOLD
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For more info contact Paul Wright on: -
[email protected] or mob 07527 389637
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The Comins Jazz amp has a power
attenuator...all valve 1x12...nice & light
combo & built by the great amp builder
George Allesandro....£1,000
'Triggs Jazzbox the top is
laminate....£2,500 £2,200
The Ameson 120w is a very small
transistor amp...very high
quality....£650
The Ameson 50watt is all tube & a
small head... £750
Schaefer 15''Jazzer………£3,500
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Antoria telecaster, 1970's, dark surburst green, all original, comes with soft case. good
condition. £150.00
vintage strat copy, dark wood stain, £50.00
Double Bass, Antoni, professionally setup by Crinson and Gohlman, comes with soft
case and stand. good condition. £380.00
Contact Andrew Lazdins
The Amp Shack The Professional Tone Breakdown Service
Ph: +44 (0) 7716 460 163
Email: [email protected]
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Hello HJGS, here are some photos of the gear I am thinking of selling.
The Gibson L-7 is very nice and was owned by USA bluesman Duke Robillard, looking for £2250.
The Abbott Victor Burlington is a fab piece of British guitar history. Ebony neck plays better than almost
anything. Made in 1940’s, may have been started before WWII and finished off after, according to
Frank Cambridge. So rare that I can’t find another one to compare for valuation, but I’d like £1500 for
it.
For all amp (valve and solid state)
and effect pedal repairs.
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The Gibson BR – 9 amp is late 1940’s, last time I played through it I was not awestruck so it maybe needs
a bit of a look at, it used to sound “ Golden” - so maybe needs a valve or a bit of know how ? £300 as it is.
Also for the collector a J.G.Abbott senior 1928ish, round sound hole archtop, quite like the Gibson L-3 or
L-4 of the late 20’s, light as a feather, very nice plectrum guitar, again too rare to find a value but I’d
like to think £900 would be fair.
Anyone interested can call me on
07711050846.
Thanks, Andrew.
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Here’s a message from Dan at Foulds Guitars
I'm running short of jazz guitars again! I've still got a bigger stock than most but decent jazzers between £300 and £1500 I'm selling everything I get so if you
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have any members that would like to move any unwanted guitars on we may be able to help.
Of course I am happy to offer a deal on goods for members, they just need to mention when enquiring.
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For Sale.
t.c.electronic 'G.Major' Guitar Effects Processor. Contains all the effects you will ever
need all in one unit:
Noise Gate/EQ/Compressor/Chorus/Flanger/Vibrato/Resonance
Filter/Phaser/Tremolo/Panner/Delay/
Pitch Detune/Whammy/Pitch Shifter/Reverb-----and much more.
Bought by me second hand--never used--so must go. £200
email me at: [email protected]
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Barry Glen Has the following guitars and amp for sale.
Knight 16inch body cosomini pick up ex condition. Built in 2004 by Gordon. £1,750. GUILD.A.A. 1962 found stripped of parts and finish.Gordon Wells did all the work tailpiece and bridge bought from Hans, original case in ex condition. £2,000. Contact: [email protected]. 01740 644282.
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Trades
Wants
1. small amp : Polytone (any model considered); Musicman RD50 (1x10 or 1x12); Peterson (Wood cab 10” speaker) AER etc
2. Seymour Duncan alnico Pro II neck telecaster neck pickup
3. D’Armond archtop pickup, any model considered.
4. Benedetto or Kent Armstrong (early wood finish type, not Chinese chrome or gold, metal casing) floating pickup.
5 Any other archtop i.e. Bartolini, Lollar, etc. considered
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6 Yamaha jazz guitar model AE1200, AE1200s AE2000 etc. cash or possible PX against Benedetto Benny or Heritage Golden Eagle
If you have of know the whereabouts of any of the above please contact Adrian Ingram [email protected]
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Gypsy jazzer (Doubling Double Bass & Rhythm Guitar) seeking fellow Gypsy jazzer's for blow. Tel. Mike on: 01663 743610. ----------------------------------------------------------------------------------------------------------
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10. Charts
~~~~~~~~~~~~~~~~~~~~~~~~~~ Back to Contents
Huddersfield Jazz Guitar Society
Contact [email protected]
If you don't want to continue receiving newsletters and notices then send an email with the subject 'REMOVE' to [email protected]
Cheers
Ian
